Issue link: https://maltatoday.uberflip.com/i/483475
III This week maltatoday, Sunday, 22 March 2015 This week Finding your niche ahead of her upcoming exhibition, 'I Know I don't', young artist Giola cassar speaks to TEOdOr rELJIc about her favourite theme of identity, and the state of Maltese art today Following an international conference organised by the School of Performing arts at the university of Malta entitled Performance and Interdisciplinarity, TEOdOr rELJIc caught up with School of Performing arts chair Prof. Vicki ann cremona and the school's research coordinator and conference convener dr Stefan aquilina What have been some of your key preoccupations as an artist, and how would you say they've developed over the years? Over the past four years, my main aim has been to try and evolve through the artistic work I engage in, and hence implicitly grow as an artist. Usually I try and approach each new project with a clean slate and an open mind. My main work aims to explore the themes of identity and memory, continually questioning who we are both to ourselves and to others. In the process I employ the human figure per se, as well as objects, as a representation of these concerns. How would you describe your artistic training over the years, formal or otherwise? Would you say you learnt the most important things to you in schools/ institutions, or would you say it's the other way round? From a young age I've always been involved in different forms of art, formally and informally, however I started formal training in the medium of photography four years ago. Following the attainment of a Higher National Diploma in Malta at MCAST, I applied to further my studies by reading for a BA in Photography (Contemporary Practice) at the University of the Creative Arts in Kent, in the UK. I found the adventure rather rewarding both from an intellectual and also from a personal dimension and opted to pursue a post-graduate degree in Photography at the University of Brighton. Currently I am halfway through my Masters and I am enjoying living in Brighton considerably. Studying full time has enabled me to focus my full attention and energy on my artistic work. The institutions have provided me with the means to explore my visual practice further, while providing the possibility to dis- cuss my work with established artists and fellow colleagues. While the formal training is important, as the basis of each great photo is using the right technique, I strongly believe that most of my artistic work has de- veloped by researching points of interest and discussing ideas in an informal manner with other artists and mentors that have helped me develop my skills. 'Identity' appears to be a key theme for 'I Know I Don't'. This is a rich and broad theme: how did you set about making it 'manageable', and 'your own'? A recurring question when initiating a new body of work is the simple yet highly complex ques- tion: 'What makes us who we are?', a question that has been tackled by leading academics, yet remains vast and ambiguous. Following a thorough visual and literary research about identity, I decided to try and explore two different routes that have impacted and formed who I am today. 'Portrayal' deals with visual identity and the ways in which it is both fluid and fixed, and is constantly reasserted in different ways. While 'Someone I knew' seeks to examine the manner that relationships and memories we create over time, become a core factor of this complex formula, which establishes a substantial part of who we are. Could you tell us a bit about the kind of media you've employed to create the works forming part of this exhibition? What can we expect to see when it's unveiled? The exhibition primarily explores the themes through the medium of photography, ranging from the highly detailed images to an instant image. As a means to represent each body of work in its best way, every detail of how each image is exhibited is taken into consideration, with the help of Alexandra Pace, the exhibition's curator. How would you describe the arts scene in Malta? What would you change about it, if you could? I believe that the arts scene in Malta has evolved over the last couple of years. Admittedly, it feels like horizons are getting broader for those involved in the arts, as gradually opportunities open up, as the sector gains more impor- tance. There is still room for it to grow since this is something that is continuously evolving, however I believe that such opportunities like the one that I was granted thanks to Agenzija Zghazagh which has helped me to set up this exhibition through the 'Divergent Thinkers' competition, gives young artists like myself a voice and a space at a national level. Moreover, since a larger number of students are furthering their studies in the arts, this has helped the Maltese arts scene to aim high- er and to augment the degree of professionalism within the sector. The major challenge remains one of feasibility and viability in that, in view of the fact that the sector is still evolving, employment possibilities are restricted. This is not just a challenge for Maltese artists, but is something which our counterparts in other European countries are also facing. One has to keep in mind that opting for an artistic career requires the individual to find their own niche, which is not necessary if one were to venture into more traditional professions. However, this is what makes working in the arts a chal- lenging and rewarding experience. I Know I Don't will be on display at the Upper Galleries of St James Cavalier, Valletta from April 10 to May 3. For more information log on to www.giolacassar.com Giola Cassar: "The major challenge remains one of feasibility and viability" 'Someone I knew' by Giola Cassar Taking advantage of being 'in-between' What would you say are some of the most urgent issues in theatre right now? Theatre and performance in Malta are currently in a very exciting and unique position – what has been an inherently amateur scene is slowly but surely becoming more profes- sional, and not many theatre contexts around the world can claim to be at this point of juncture. I feel that this, more than anything else, is the major issue which theatre practition- ers and academics alike should be aware of and collaborate in: while it is necessary to safeguard amateur and community forms of theatre (like Good Friday pageants) and theatri- cal events (like Carnival, proces- sions, and village feasts), it is equally important to fuel professionalism and artistic standards that make theatre performance cutting-edge, engaging, and relevant to local and internation- al audiences. Being in this position of 'in-between' is not a weakness, but a strength that needs to be thoroughly exploited. Do you see Malta as becoming a healthy hub for the discussion and analysis of contemporary theatre? The recent conference organised by the School of Performing Arts at the University of Malta demonstrates that Malta is already serving as such a hub. The conference included speakers from the UK, US, Australia, Russia, Poland, Belgium, Italy, Turkey, Nigeria, and Brazil. It was a strong international conference and a clear indication of the fact that the School is taking the right directions and has attained international recognition since it was launched in 2012. Malta is ideally placed to serve as an inter- national platform for the exchange of knowledge and cultures, but it needs to be promoted properly through a concerted effort from all stake holders. Malta needs to pay more attention to the artistic developments that are occurring, which could serve as a valid basis for cultural diplomacy and exchange. Do you think it's important to emphasise the interdisciplinary connection between sciences and humanities? How do you hope this will be borne out during the conference? The connection between the sciences and the humanities is important because it emphasises the holistic nature of the human being. Interdisciplinarity today does not raise the eyebrows that it did 20 years ago. It might not yet have become part and parcel of academic practice, but certainly many efforts are being made in that direction. This new approach is building, for example on the European Union Re- search Advisory Board's recommen- dation that 'the solution to many of today's complex problems in areas such as globalisation, environment, health, defence and security must, by definition, be addressed using a multi-disciplinary approach'. needs its time to develop. There is, for one, a shared terminology to be agreed upon. Conferences such as this make people aware of what other researchers and practitioners are doing, but also provide a valuable opportunit y to present research results. One such case was the presentation which Dorita Han- nah of the Universit y of Tasmania delivered titled 'Borderline Per- formances: Weak(ening) Archi- tecture', on how spatial performa- tivit y destabilizes architecture's fixed and durable dimensions, thus making it relevant to archi- tects, designers, and artists alike. Would you say there is a large rift between academic work about theatre locally, and the kind of theatre that is predominantly staged in Malta and Gozo? If so, what does this say about the way our culture processes theatre? Why should we speak of a rift? I would rather see it as different people, having different abilities and skills, and working in differ- ent situations, but all contributing to a diverse theatre and perform- ance scene. Academic research in the performing arts at the University of Malta specializes in that, in the academic integration between practice and theory, with a view to preparing graduates that can contribute to the varieties and challenges that are intrinsic to thriving cultural scenes. Other performance contexts special- ise in early-age pedagogy, while others aim to develop theatre in Maltese. Others import valid dramas from abroad, work with socially-challenged participants, and so on. It is surely this diversity that makes the local scene worth engaging in. Dr Stefan Aquilina and Prof Vicki Ann Cremona. Photo by James Moffet